Christine Joy Curation and Exhibitions | Art

Christine Joy Curation and Exhibitions

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25.01.2022 So excited to see the @deakinartgallery @deakinuniversity collection exhibition at @ngvmelbourne featuring the beautiful Wandjina work by Emily Karedada. The first image shows a beautiful Wandjina painted by Lily Karedada with natural ochres on bark, and currently available at Hearth Galleries. The second two images were taken at the National Gallery of Victoria at their current exhibition.... Lily Karedada was born in 1920 in the Woomban-goo-wan-Gorr, Prince Regent River area in Western Australia. She is widely recognised and respected as one of the most outstanding painters of mythical Wandjina figures, central to and if the utmost importance within the culture of the Kimberley region. To quote the Worrora woman Leah Umbagai, the Wandjina is a surprise being that created the country, gave us the laws of the land, and we have to obey and follow it. The Wandjina is not just a picture on the wall, it’s the trees, the rocks, it’s the water, it’s the seasons, it’s everything... it lets us Wandjina people know who we are and how to live our life. Rock art representation of Wandjina can be found through the Kimberley, dating back 4000 years. Measuring 94x51cm, natural ochres on bark. A rare opportunity to acquire this extraordinary work by Lily Karedada. Please contact us for further information. With thanks @artinterface_aboriginal_art

24.01.2022 Stunning large work by Sabrina Nangala Robertson arriving soon... Sabrina paints Ngapa Jukurrpa or Water Dreaming - Pirlinyarnu. This is a significant piece by Selma measuring 152x91cm. ... Selma’s works are known for her exquisite attention to detail and the uniformity of her composition causing the optical illusions of gentle rippling and profound depth through the sensation of floating layers. Acrylic polymers on Belgian linen. Arriving at Hearth Galleries soon.

24.01.2022 We are big fans of Agnes Nampijinpa Fry!! This beautiful painting Jurlpu kuja kalu nyinami Yurntumu-wana (Birds that Live Around Yuendumu) depicts two of the many bird species that live around Yuendumu. The bush, waterholes and spinifex country provide many habitats for birds. Some species, such as the emu and bush turkey, are hunted for meat. In Warlpiri culture birds are associated with Jukurrpa (Dreaming) stories and major ceremonies. Agnes was born in Yuendumu in 1965 ...and has been painting with Warlukurlangu Artists since 2006. She paints her father’s Jukurrpas and is known for her wonderful Jankirri Jukurrpa or Emu Dreaming interpretations. Contact us to find out more about Agnes’ work. The door is closed but Hearth is busy responding to customer needs and inquiries. We are doing non -contact click and collect, and offering deliveries to Melbourne.

22.01.2022 Thank you to my friend, Gunditjmara man, Ben Church, and to all the elements of Gunditjmara Country that came together in Ben’s hands to create these works of great beauty. I feel in them the givingness of Country, their journey from Gunditjmara to Wurundjeri Country, and the careful labour of tender concentration, humility and care with which they are imbued. I will treasure them always in my hands and heart. Ben used an old fallen Blackwood from Lake Condah Mission, Xantho...rrhoea resin to fill the holes in the tarnuk and the smoke of Gunditjmara Country before sending them on their journey to Wurundjeri Country. Thank you @kerrupjmara for my tarnuk and clapsticks crafted with care. The tones shift subtly down the length of my sticks, I will get to know them and they will teach me good things. Thank you @emma_alice4 for bringing them to me.

22.01.2022 The beautiful bright work of Joy Nangala Brown always a vivid celebration of life... Joy paints Yumari Jukurrpa or Yumari Dreaming which is tells the story of site of forbidden love union between a Japaljarri man and a Nangala woman. Yumari is a rocky outcrop west of Kintore in the Gibson Desert. Joy Nangala Brown lives in Nyirripi in the Northern Territory and is known for her vibrant palette usually in purpled, pinks and blues. Concentric circles represent warnirri or rockholes in Joy’s work. Acrylic polymer paint on Belgian linen, 30x30cm. Available soon at Hearth Galleries in Healesville.

21.01.2022 We are enchanted by this work by Amanda Wright, Untitled, But She Does Have A lot to Say. 92x76cm, acrylic aerosol and paint pen on canvas Hearth are proud to be exhibiting a series of Amanda Wright’s work for our exhibition Animal People. ... Amanda Wright is a Palawa artist whose family, on her mother’s side, is from Bruny Island, Tasmania. Amanda grew up and went to school in Boronia, before doing a Fine Arts degree at RMIT. Amanda comes from a family of artists, including her mother, her maternal grandfather, Amanda’s sister, and her mother’s cousin. When Amanda was three or four she recalls her uncle painting, and at that moment she decided that painting was for her. She has been painting ever since. Amanda sees her practice as being linked to her state of mind, and represented by stages throughout her artistic life. At university she used a palette knife composing full-length bodies on large canvases. Now her work is focused on tenderly conceived portraits of Aboriginal people that give a window into the subjects’ spiritual and emotional worlds. Amanda doesn’t always know who the people are that emerge in her compositions. The current period of prolific painting she believes was triggered by a family reunion where she learnt more about her family and began researching her family history. Amanda’s painting is inspired by her thoughts of her mother, grandmother and her great-grandmother, the circumstances they survived, their strength and their resilience. Amanda says, ‘ I found family and now I’m trying to find spirit. I just have to paint every day. I have so many ideas. Painting is all I have ever known.’ Amanda also studied Visual Arts Education at Deakin University. Hearth Galleries is thrilled to present a mini-exhibition of Amanda’s work to celebrate the Animal People exhibition. This series by Wright positions the relationship with the animal as being key to spiritual experience. Birds feature, such as crow, blue wren, kookaburra and lyrebird, each providing a sense of calm, comfort and guidance. The birds as familial presence exist on a deeper plane than which our rational minds have access. Please contact us for more information.

21.01.2022 K2020 A hexaptych (six part work of art) by Peter Waples-Crowe, exploring kinship, identity and self-portraiture. In Peter’s words...... ‘K is for Kin. The alpine Dingo and the Corroboree Frog are both creatures that live on Ngarigu Country and are kin. This work was created in the first coronavirus lockdown in 2020 and really is a visual mediation of the feeling of containment. Both the creatures are on the verge of extinction, with the dingo seen as a threat to livestock and the Corroboree Frog being bred in the zoos of Sydney and Melbourne for release back into the wild. Both the creatures are contained on country and threatened. I am them and they are me.’ Hearth is thrilled to present a mini exhibition of works by Ngarigu artist Waples-Crowe, examining identity through totemic relationship to Country and the entities belonging to Country. Waples-Crowe has become a significant voice speaking from his place within the Queer and Aboriginal communities in Australia. Through his totemic relationship with the dingo Waples-Crowe explores the notion of the Outsider. Waples-Crowe, based in Melbourne, has exhibited widely including in state and private galleries and his work is held in collections both nationally and internationally. Acrylic on canvas, 6 parts, each 30x30cms. Peter’s works are a part of Hearth’s exhibition Animal People, exploring Reciprocity, Sentience and Kinship. Please contact us for further details about Peter’s work and the Animal People exhibition.

21.01.2022 Hearth are huge fans of Amanda Wright’s beautiful work. This beautiful diptych is titled Spirit of the Lyrebird. Amanda Wright is a Palawa artist whose family, on her mother’s side, is from Bruny Island, Tasmania. Amanda grew up and went to school in Boronia, before doing a Fine Arts degree at RMIT. Amanda comes from a family of artists, including her mother, her maternal grandfather, Amanda’s sister, and her mother’s cousin. ... When Amanda was three or four she recalls her uncle painting, and at that moment she decided that painting was for her. She has been painting ever since. Amanda sees her practice as being linked to her state of mind, and represented by stages throughout her artistic life. At university she used a palette knife composing full-length bodies on large canvases. Now her work is focused on tenderly conceived portraits of Aboriginal people that give a window into the subjects’ spiritual and emotional worlds. Amanda doesn’t always know who the people are that emerge in her compositions. The current period of prolific painting she believes was triggered by a family reunion where she learnt more about her family and began researching her family history. Amanda’s painting is inspired by her thoughts of her mother, grandmother and her great-grandmother, the circumstances they survived, their strength and their resilience. Amanda says, ‘ I found family and now I’m trying to find spirit. I just have to paint every day. I have so many ideas. Painting is all I have ever known.’ Amanda also studied Visual Arts Education at Deakin University. Hearth Galleries is thrilled to present a mini-exhibition of Amanda’s work to celebrate the Animal People exhibition. This series by Wright positions the relationship with the animal as being key to spiritual experience. Birds feature, such as crow, blue wren, kookaburra and lyrebird, each providing a sense of calm, comfort and guidance. The birds as familial persons exist on a deeper plane than which our rational minds have access. Perhaps Wright chooses birds as a symbol of flight, wind, air. And somehow their presence is a part of each breath we take. Acrylic aerosol, paint pen, calico 92x62cm, 40x60cm

19.01.2022 In celebration of Vincent Namatjira’s wonderful Archibald Portrait Prize win, honouring Nicky Winmar and Adam Goodes, I am re-sharing the wonderful football-themed works at Hearth Galleries, created by talented Wauthurung artist, Daniel Kelly. Hand-printed work titled Nicky Winmar, created with spray enamel on cotton rag paper, 61x47cm. Dan has always greatly admired Nicky Winmar, not only for his great ability as a footballer but for this historic statement against racism p...layed during the 1993 game against Collingwood. This gesture created such pride in the Indigenous community and will always be a moment of solidarity and strength for Aboriginal people. Dan’s work The Goodes, has been created from his own print then painted with ochres collected by him. Dan’s work focuses on reconnecting with culture and expressing his passion for Aboriginal issues. Dan has become a major artist at Baluk Arts working with paint, ochre stencil, wood carving, limestone and jewellery. Please contact us for more details.

18.01.2022 Love the Westend Healesville ‘hood.

15.01.2022 Hearth Galleries will be open for these four lovely evenings of twilight shopping between now and Christmas. Take a stroll down our lovely Main Street and find that something special

11.01.2022 The Tiwi exhibition at the NGV is a must see! I could hardly bear to leave and will be going back. One delight was Taracarijimo Freda Warlapinni’s works (see the first two images). Born between 1923-25, Freda was a matriarch of Jilamara Arts, which is based in Milikapiti on Melville Island. Freda grew up in missionaries on Melville Island, and then lived on Bathurst Island until her husband passed away. She then returned to Melville Island. Freda originally painted for ceremo...nial purpose and then in 1996 had the opportunity to work on canvas and paper. She is known for her distinctive design utilising ochre paint. Melville Island is the source of the beautiful ochre pigments which can be seen in the cliffs when walking along the island’s beaches. Jilamara or designs are ceremonial, passed down within families and traditionally painted on Pukumani poles. The third painting is one of Freda’s paintings currently available for sale at Hearth Galleries. It was painted in 1997, and measures 50x82cm. Freda’s work can be found in many important collections including National Gallery of Victoria, MAGNT Darwin, Art Gallery of NSW, National Gallery Canberra, Artbank NSW, The John McBride Collection Melbourne and Tokyo and the Kerry Stokes Collection. I highly recommend a visit to the Tiwi exhibition at NGV! I also encourage you to visit Hearth Galleries to see the beautiful Tiwi collection collected by Ernst Fries and his wife when visiting the Tiwi Islands in the 1990’s. All of the artists in the Ernst Fries collection are represented in the NGV Tiwi exhibition and are exceptional examples of the artists’ work. A rare opportunity to acquire the work of these significant Tiwi artists. Thank you Reggie Clark for the opportunity of getting to know these beautiful works.

10.01.2022 I’m really enjoying reading Glenn Loughrey’s book On Being Blackfella’s Young Fella: is Being Aboriginal Enough? Check out these reviews from the Anglican community. Glenn is a Wiradjuri man and Reverend in the Anglican Church. Chapters include: Aboriginal Spirituality... In the Good Old Days On Being Aboriginal This Ground, She’s my Mother Wiradjuri Dreaming Repository of Sacred Texts The Rocks Speak Universe as Country Living the Change Patterns Everywhere Whin-Nga-rra All in the Sky An intricate web on inter-Being-ness Hearth has plenty of stock, so let me know if you’d like one sent to you. $24.95 plus postage.

08.01.2022 Wurundjeri Country

08.01.2022 A lovely interpretation of Ngapa Jukurrpa or Water Dreaming by Lola Nampijinpa Brown. Coming soon to Hearth

07.01.2022 Another exciting part of the Tiwi exhibition at NGV is the beautiful work by Kitty Kantilla. Kitty Kantilla also known as Kutuwulumi Purawarrumpatu Kitty Kantilla, is considered one of the matriarchs of Jilamara Arts. Cultural identity and aesthetic sense are asserted through Kantilla’s ochre works. Customary ritual is expressed through the delicate rhythm of variable dots, each dot ‘bearing the artist’s hand and sensibility’ (Judith Ryan AM). ... Such is the regard for Kantilla‘s work that the NGV Tiwi exhibition honours her with three walls dedicated to her work. Hearth has a small piece by a Kantilla available (as part of the Ernst Fries Collection) titled Snake, measuring 60x50cm and painted in 1997. Kantilla produced an extraordinary body of work from the 1970’s until her last days in 2003. In her hands the magic of Tiwi culture is translated into works of international significance. Her earliest works were tutini or grave poles carved from ironwood, using only a tomahawk, chisel and mallet. Instead of using the fine painting comb (pwoja), she used a fine stick of coconut palm frond. Her paintings feature the variable dots that earned her the nickname Dot Dot. Kitty’s work can be found in many important collections including National Gallery of Victoria, Art Gallery NSW, National Gallery of Australia, Museum Victoria, Museum and Art Gallery Northern Territory. See the NGV Tiwi exhibition and the exciting Tiwi work for sale at Hearth Galleries.

07.01.2022 ‘Covid 1770 - When Cook Sneezed’ by Wiradjuri artist Glenn Loughrey.. Hear Loughrey speak about this and other works, and life in general, on Saturday February 20th at Hearth Galleries. Loughrey will be attending the gallery to speak with visitors from 11am til 4pm. ... No booking required.

07.01.2022 Beautiful work by Amanda Wright!! Untitled, Crow. 92x76cm, acrylic aerosol and paint pen on canvas. Hearth are huge fans of Amanda Wright’s work. ... Amanda Wright is a Palawa artist whose family, on her mother’s side, is from Bruny Island, Tasmania. Amanda grew up and went to school in Boronia, before doing a Fine Arts degree at RMIT. Amanda comes from a family of artists, including her mother, her maternal grandfather, Amanda’s sister, and her mother’s cousin. When Amanda was three or four she recalls her uncle painting, and at that moment she decided that painting was for her. She has been painting ever since. Amanda sees her practice as being linked to her state of mind, and represented by stages throughout her artistic life. At university she used a palette knife composing full-length bodies on large canvases. Now her work is focused on tenderly conceived portraits of Aboriginal people that give a window into the subjects’ spiritual and emotional worlds. Amanda doesn’t always know who the people are that emerge in her compositions. The current period of prolific painting she believes was triggered by a family reunion where she learnt more about her family and began researching her family history. Amanda’s painting is inspired by her thoughts of her mother, grandmother and her great-grandmother, the circumstances they survived, their strength and their resilience. Amanda says, ‘ I found family and now I’m trying to find spirit. I just have to paint every day. I have so many ideas. Painting is all I have ever known.’ Amanda also studied Visual Arts Education at Deakin University. Hearth Galleries is thrilled to present a mini-exhibition of Amanda’s work to celebrate the Animal People exhibition. This series by Wright positions the relationship with the animal as being key to spiritual experience. Birds feature, such as crow, blue wren, kookaburra and lyrebird, each providing a sense of calm, comfort and guidance. The birds as familial presence exist on a deeper plane than which our rational minds have access.

06.01.2022 Hearth Galleries would like to introduce Ashleigh Pugh, who is an artist with Baluk Arts. Hearth stocks Ash’s extraordinary miniature paintings, jewellery and wood craft such as boomerangs. Here we’ve highlighted two beautiful snakes, and in Ash’s words...... I live on the Mornington Peninsula, I was born here. My grandmother was a Noongar woman, and the journey i share with my father is our path. My love for my family is expressed all throughout my art. I have been painting since I was 4 years old. Growing up as a child I had the most loving and supportive parents to venture in to creative ways. I could express myself without limits. My art lives through them..my family. And to find out my grandmother was creative and her love for fishing... maybe she passed that down to me. The last few years has changed my life learning how to tell my stories throughout my art and the amount of learning knowledge from the people around me I will ever be so grateful for. My love for saws and wood and recycled materials came in my young teens collecting materials turning them into something beautiful. Throughout isolation of 2020, my separation from social media let my creative streak blossom with no influences or anxiety. I saw life in everything. As I would go for my daily walks next to the beautiful park next door I would collect sticks. I could already see what they were i just needed others to see it too. I have recently been introducing pyrography burning to my art and it has opened up a new world of imagination expression and power in myself. My first snake is a tiger snake, two days of carving and sanding and burning then acrylic painting and sealed. The second is a red belly black snake. And in progress is a diamond python. He is quite larger and I am excited to share my progress with you. I hope he’s finished quick. Depending on my frame of mind they usually take about 25+ hours each and varing on size.

06.01.2022 This beautiful Ford Transit campervan took Tommy and I on a trip into the heart of Australia. Without it I wouldn’t have met Cecilia, Gloria and the artists at Warlukurlangu Artists in Yuendumu, on Warlpiri Country. Or made contact with the wonderful staff and volunteers there. What a brilliant adventure. We went via Adnyamathanga Country, (the Flinders Ranges) in beautiful SA. Now I’m bidding farewell to her and looking for a new owner to love her and take her on new jour...neys (as I’m looking for a four wheel drive). So she’s for sale. Thank you for being my home away from home for 6 months.

06.01.2022 Another great reason to visit Healesville

05.01.2022 Mum and Rob live adjacent to the Yanggai Barring linear reserve, a lovely flight path for many bird species... ‘ ‘The name Yanggai Barring is believed to be der...ived from the Aboriginal language meaning ’Black Cockatoo’. To honor the local indigenous people, The Friends of Yanggai Barring community group received permission from the Wurundjeri Elders to use the name Yanggai Barring for the reserve.‘ (Yanggai Barring Management Plan) See more

04.01.2022 One of Hearth’s dearest friends, the brilliant and much-loved Sophie, models our Kindred T-shirt, designed by Yanyuwa designer Jason Mulholland, especially to celebrate our new exhibition.... Animal People. Animal People are people that live all around us, although not in human form. They are the non-human kin, the family we forgot. Here’s a quote from Tyson Yunkaporta to inspire...... ‘Indigenous models of governance are based on respect for social ecological and knowledge systems and all their components or members. Complex kinship structures reflect the dynamic design of natural systems through totemic relationships with plants and animals. Totems can also include other elements like wind, lightning, body parts and substances. The whole us intelligent and each part carries the inherent intelligence of the entire system. Knowledge is therefore a living thing that is patterned within every person and being and object and phenomenon within creation. Respectful observations and interaction within the system, with the parts and the connection between them, is the only way to see the pattern. Each part, each person, is dignified as an embodiment of the knowledge.’ ‘This kind of cultural humility is a useful exercise in understanding your role as as an agent of sustainability in a complex system. It is difficult to relinquish the illusions of power and delusions of exceptionalism that come with privilege. But it is strangely liberating to realise your true status as a single node in a cooperative network.’ ‘Why are we here? It’s easy. This is why we’re here. We look after things on the earth and in the sky and the places in between.’ ‘We exist to form these relationships which make up the energy that holds creation together.’ Looking forward to you joining us with your kinship-mind very soon. Please let us know if we can help you with anything. Tees are available in a couple of each size.

04.01.2022 Glorious new work by @emma_alice4 Emma Stenhouse titled Women’s Work, just gone up on the wall at Hearth. I can’t sop looking at it and feeling it’s soothing qualities. Acrylic on canvas, 100x100cm

03.01.2022 Queer as Country 2020 Hearth is so excited to present this quadriptych (four part work) by Ngarigu artist Waples-Crowe, examining identity through totemic relationship to Country and its entities. Waples-Crowe has become a significant voice speaking from his place within the Queer and Aboriginal communities in Australia. Through his totemic relationship with the dingo Waples-Crowe explores the archetypal Outsider, watching society, shifting, on the move, often hiding, but al...ways alert, ready. Ngaya = I am. Waples-Crowe views the emu as carer and nurturer, qualities that equate with the true but often overlooked essence of manhood. In Peter’s words... Ngaya Queer. I am queer. I am Ngarigu. This work explores my identity as a queer Ngarigu person. My tribal name is Ngurran (Emu). This work is a self-portrait and includes an image of the high country, which is my Country. Waples-Crowe, based on Melbourne, has exhibited widely including in state and private galleries and his work is held in collections both nationally and internationally. Acrylic on canvas, quadriptych, 4 x 30x30cm.

01.01.2022 Those with Celtic hearts.. you’ve probably seen the oaks this week, in resurgence, sunshine drawing leaf buds and flowers (catkins) to burst from bare branches. The colour almost iridescent and glowing (these photos haven’t been enhanced.) I love the time of year, the sheer determination of spring. I whisper the word for oak in other languages, the energy for oak still the same in each. I love the way ageing oaks of some species grow their branches down to the ground formin...g a cathedral underneath. I love the nostalgic fragrance of oak leaves in autumn. I have got to know many oaks, watching, smelling, feeling them over the years. I have shared oak stories with hundreds of children, who have gazed into their canopies, tenderly touching the bark, laying their cheeks against them, or bringing them gifts of flowers, singing to them. Children remind me that our life force lies within our imaginations, the place where our greatest wisdoms are born, there within the synergistic rhythms of nature and culture. Oaks were sacred in Celtic culture, where Druids were responsible for protecting them and interpreting their wisdom. We have no oaks Indigenous to Australian soils and yet I believe they have a vital role to play in climate change in our country. Significant carbon sequesters and providing natural air conditioning in streets and towns, maintaining moisture in air and soil... no better place on a hot day. We don’t tend to replant oaks when they die. I wonder what will happen when the old ones in our towns die. When I visit Marysville I am reminded of the oak’s fire retardant qualities, that within the inferno that destroyed almost everything on Black Saturday, oaks were left standing in the Main Street. This is controversial because tree succession plans make preference for native plants. I also see in them the history of invasion of this country. Without oak timber, would those sailing ships have made it here? Settlers (invaders) brought acorns in their pockets from home to recreate an English landscape. I embody all these loves, losses, grief and inconsistencies, the blackbird in the oak tree singing them passionately to my heart’s wild place.

01.01.2022 Beautiful pyrography by Wathaurong artist, Dan Kelly, who has created this powerful image titled Wonga Bunjil. This work on cotton rag paper has been beautifully framed in white timber and is ready to hang. Bunjil is the creator who appears in the form of a Wedge-tailed Eagle. ... Daniel Kelly lives on the Mornington Peninsula, exploring his connection to Country across several mediums, and is a member of @balukarts